#make up artist london

[astuteobservations]

sophia zinenko

[makeupstudio42]

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[lydiaplain]

When you is not you.. But you, oh you, are you. So what is you under you.. And who will ever know?.. Only if you, oh you, would ever show...

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A post shared by Lydia Plain (@lydiaplain)

[littlequeenies]

Artist Wildcat Will (L) and Lee Starkey attend the W London-Leicester Square premiere 'W London Calling' at W London-Leicester Square on March 16, 2011 in London, England.

[waterlogged-detective]

Name/Title: Darcy Doe the Appalling Artist

Pronouns: He/Him

Referred to as: That Bastard

Profession: Enforcer

Closest to: Tomb Colonies

Ambition: Heart's Desire

Associated Stats: Persuasive, Dangerous, Monstrous Anatomy

Associated Quirks: Hedonist, Ruthless, Daring

Destiny: The Memory

Personality: Goes out of his way to inconvenience everyone for his own amusement and curiosity. All around bastard who thinks being a bastard is funny. Subsists almost entirely on tobacco and sugar.

Background: All of what could be written here are lies.

[crazys-art]

art summary of the year!! feel like i really made some progress this year

^ a link to the template i used!!

[mitamicah]

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[pandora-whowalksbetween]

i think the thing that bugs me most about there being a cruella deville character in twst is that 101 dalmations isnt... a fairy tale. it’s a book from 1956. its so weird and all i can think of is ‘what would dodie smith think of this.’ i mean she’d probably be cool with it considering how batshit anything else related to 101d is but still

[thedeadthree]

persona for Lilia / hero for Mona / voice for Kieran, please! 🧡

RHYS YOU TREASURE YOU TY <3 lila and mona and kieran my BABIES

🎸 ★ INFAMOUS MC ASKS.

🎸 ★ PERSONA: how does their day-to-day personality compare to their on-stage persona?

shes as prone to reckless behavior as any rockstar, but she spends a lot of time in her own head! muses of the past and the next and that can be the reason for the former? to escape the latter? this can especially be when shes on her own, its been a thing, a way to pass the time (she cites because of boredom but ! shes a liar!), thinking of herself and things she can do for herself is easier than facing your psyche <3. and that translates a bit to her on stage persona as well ! though shes a bit more melancholic, she plays a lot into the "in her own head" melanchilia on stage for two headed mother!

🎸 ★ HERO: what is their favourite thing about G? why is your MC such a big fan?

i think for her what was so alluring of g as an artist for mona that sold for her that he was an artist she admired was that he sought to give artists the platform to introduce their music to an audience, to be shown love and appreciation for their music the way that fans and those around g did for him. the BOTB being a way to showcase new talent and give them a platform for that is really what made mona admire g as an artist 🤍

🎸 ★ VOICE: what does their singing voice sound like? do you have voiceclaims(s) for them?

MY FAVORITE QUESTION i get to yell about the babies influences and sound AHH. i really love the voices of blood orange, steve lacy, paris texas, enumclaw (a pnw band!!!!), kevin abstract, brent faiyaz, tamino and omar apollo for kierans sound! as for his voice claim, i really love alfred enoch for a voice claim! kieran was born in england and lived there until he was about 15 when he moved to the us in the summer before he started high school, where he would meet his future bandmates in lost in london!

[viir-tanadhal]

no no listen i see the vision

what were the other ones then

[makeupartistuk]

Ummi Chowdhury Get your glow up with our exotic touch as we create the best look. You can experience exceptional service that you can’t resist.Know More : https://goo.gl/maps/5uC1DLY4jkxvwBxR6

[reemnamin]

ANATOMICAL from BBC's Glow Up Season 5 winner Saphron Morgan for Noctis Magazine by Reem Nawal Amin (2023)

[theloverstomb]

‘Fragile Microbiomes’ by bio-artist Anna Dumitriu

1. SYPHILIS DRESS- This dress is embroidered with images of the corkscrew-shaped bacterium which causes the sexually transmitted disease syphilis. These embroideries are impregnated with the sterilised DNA of the Nichols strain of the bacterium - Treponema pallidum subsp. pallidum - which Dumitriu extracted with her collaborators.

2. MICROBE MOUTH- The tooth at the centre of this necklace was grown in the lab using an extremophile bacterium which is part of the species called Serratia (Serratia N14) that can produce hydroxyapatite, the same substance that tooth enamel is made from.

The handmade porcelain teeth that make up this necklace have been coated with glazes derived from various bacterial species that live in our mouths and cause tooth decay and gum disease, including Porphyromonas gingivalis, which can introduce an iron-containing light brown stain to the glaze.

3. TEETH MARKS: THE MOST PROFOUND MYSTERY- In his 1845 essay “On Artificial Teeth”, W.H. Mortimer described false teeth as “the most profound mystery” because they were never discussed. Instead, people would hide the stigma of bad teeth and foul breath using fans.

This altered antique fan is made from animal bone and has been mended with gold wire, both materials historically used to construct false teeth (which would also sometimes incorporate human teeth). The silk of the fan and ribbon has been grown and patterned with two species of oral pathogens: Prevotella intermedia and Porphyromonas gingivalis. These bacteria cause gum disease and bad breath, and the latter has also recently been linked to Alzheimer’s disease.

4. PLAGUE DRESS- This 1665-style 'Plague Dress' is made from raw silk, hand-dyed with walnut husks in reference to the famous herbalist of the era Nicholas Culpeper, who recommended walnuts as a treatment for plague. It has been appliquéd with original 17th-century embroideries, impregnated with the DNA of Yersinia pestis bacteria (plague). The artist extracted this from killed bacteria in the laboratory of the National Collection of Type Cultures at the UK Health Security Agency.

The dress is stuffed and surrounded by lavender, which people carried during the Great Plague of London to cover the stench of infection and to prevent the disease, which was believed to be caused by 'bad air' or 'miasmas'. The silk of the dress references the Silk Road, a key vector for the spread of plague.

5. BACTERIAL BAPTISM- based on a vintage christening gown which has been altered by the artist to tell the story of research into how the microbiomes of babies develop, with a focus on the bacterium Clostridioides difficile, originally discovered by Hall and O’Toole in 1935 and presented in their paper “Intestinal flora in new-born infants”. It was named Bacillus difficilis because it was difficult to grow, and in the 1970s it was recognised as causing conditions from mild antibiotic-associated diarrhoea to life-threatening intestinal inflammation. The embroidery silk is dyed using stains used in the study of the gut microbiome and the gown is decorated with hand-crocheted linen lace grown in lab with (sterilised) C. difficile biofilms. The piece also considers how new-borns become colonised by bacteria during birth in what has been described as ‘bacterial baptism’.

6. ZENEXTON- Around 1570, Swiss physician and alchemist Theophrastus Paracelsus coined the term ‘Zenexton’, meaning an amulet worn around the neck to protect from the plague. Until then, amulets had a more general purpose of warding off (unspecified) disease, rather like the difference today between ‘broad spectrum’ antibiotics and antibiotics informed by genomics approaches which target a specific organism.

Over the next century, several ideas were put forward as to what this amulet might contain: a paste made of powdered toads, sapphires that would turn black when they leeched the pestilence from the body, or menstrual blood. Bizarre improvements were later made: “of course, the toad should be finely powdered”; “the menstrual blood from a virgin”; “collected on a full moon”.

This very modern Zenexton has been 3D printed and offers the wearer something that genuinely protects: the recently developed vaccine against Yersinia pestis, the bacterium that causes plague.

[thepearlyalbatross]

I like to imagine that the supernatural community in London are all just collegively waiting for Panyeland to get married.

Like they're all completely convinced those two boys are dating but because of time period prejudice don't say anything. But everyone is just waiting fir when they announce their engagement.

The witch who owns a flower shop keeps sunflowers, red roses and forget me nots on standby ready to make bouquets at any second.

The ghost costume designer has designs upon designs of their wedding outfits at the ready for then too look over and chose to form in to. (Taking age and period times into account)

The immortal bookshop owner has paper ready for invitations, because the entire supernatural community has been waiting for this.

The seer portrait artist always keeps a few days of each season open as those boys never match with her visions and she wants them to have an image of their wedding day.

The Night Nurse is also completely absorbed in this as well, prepared for when she must give in some solved cases late so they can have a good amount of time for the wedding and honeymoon.

It's somehow a complete shock to Charles and Edwin when they do eventually get married that so many people turned up. All people they knew on the basic surface level but all care for them and want them happy. To know there's people who care about them in their afterlives. It's wild.

[littlequeenies]

September 21, 2011 -Lee Starkey and Jay Mehler with designer James Small (photos 2 & 3), artist Wildcat Will (photo 6), and an unknown person (photo 4) at the James Small Menswear Spring/Summer 2012 runway show during London Fashion Week at Vauxhall Fashion Scout in London, England.

[fans4wga]

"The studios thought they could handle a strike. They might end up sparking a revolution"

by Mary McNamara

"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.

Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.

This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.

More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.

But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.

Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.

Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”

“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”

If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.

“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.

A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”

When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.

Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)

Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.

Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.

Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.

The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”

Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.

Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.

At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.

It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."